This document provides an overview and preview of books that will be featured in the Spring/Summer 2011 catalog from Taschen books. It highlights books on Soviet architecture, Linda McCartney's photography, fairy tales with vintage illustrations, European applied arts, and more. The document is the Spring/Summer 2011 catalog from Taschen books showcasing upcoming titles.

1. Spring/Summer 2011
TheRoad
toSexual
Liberation
The outrageous visual diary
of sexual adventurer Liz Earls
— page 42
Behind
theIron
Curtain
Weird and wonderful architecture
from the Soviet Union — page 4
TheWorld
throughLinda’s
EyesLinda McCartney’s life in
photographs — page 14
Est. 1980
For optimists only

2. H a u t e J o a i l l e r i e C o l l e C t i o n
42
4
14
86
Spring/Summer 2011
4 Ideo logical dreams
Frédéric Chaubin’s stunning photographs of
late-era Soviet architecture
12 Kate
by Mario
A fashionable
love affair
14 Behind
the lens
A retrospective of Linda McCartney’s
life and photography
28 Decorative masterpieces
Illustrations of European applied arts
from the 9th to the 16th centuries
30 Once upon a time...
The Brothers Grimm fairy tales newly
translated complete with vintage illustrations
36 Bettina Rheims’ ode to Paris
Is it a film or a photo book? A mystery or
a tale of seduction? All of the above
38 The ultimate ecstasy
Sixty women photographed by Will Santillo
masturbating to orgasm
42 Through the Cougar’s Eyes
Liz Earls and the road to sexual liberation
46 Glasses included!
Feast your eyes on buxom breasts and
eye-popping penises
47 Think different
Insider secrets on how to write ads that sell
48 You wanted more logos?
You got ’em, there comes
volume 3 of Logo Design
51 Picture Perfect
The wild and wonderful world
of contemporary portraiture
52 Do the Wright Thing!
The final volume in our comprehensive
Frank Lloyd Wright trilogy
54 Summer in Kensington Garden
A decade of summer pavilions
by the world’s top architects
50 Come Inside!
Exceptional home decors in the world today
59 Building with trees
Back to basics: wood is good
61 Album art as we know it
How the record cover came to be
62 The art
of dining out
A century of memorable
menus
64 Icons that made
history
The story behind the key
pictures of the 20th century
66 It’s all up to you
If your life is too complicated to
keep a diary, you need this!
68 Thoroughly modern
The Modernist works that matter the most
73 king of the art-booksellers
A conversation between Walther König
and Benedikt Taschen
78 Now you see them,
now you don’t
Limited editions for early birds only
80 Photographers A–Z
The finest books by 20th century
photography greats
82 Font porn
An encyclopedia of typefaces
85 The discovery of Norma Jeane
The first photos of the girl who
would become a myth
86 Kubrick’s Waterloo
The greatest movie never made
89 THe undefeated
The monumental Muhammad Ali tribute
90 The holy grail for
comic lovers
DC celebrates 75 years
91 Easy Rider
The Hollywood icon who turned his life
into a work of art
92 500 years of spectacles
A whopping glasses extravaganza
94 What does it all mean?
The Book of Symbols gives answers
to many of life’s questions
96 A seriously seductive lineup
An overview of our current titles
111 They came, they saw,
they signed
Photos of recent book-signing events
“And so began a seven-year odyssey.
It was like finding an undiscovered monument –
a Machu Picchu of your own.”
—CCCP photographer Frédéric Chaubin
Read this on your iPad!

3. — 1 —
Est. 1980
For optimists only
Est. 1980
For optimists only
INEZ ♥ VINOODH
Two artists, one vision — page 26
THE
RETURN
OF THE
FAULPELZ
Back by popular demand
— page 3
Winter 2011/12
UNCOVERING
MARILYN
Marilyn Monroe by Norman Mailer
and Bert Stern — page 58
PEDRO
FOREVER
Get lost inside Almodóvar’s
archives — page 92
BACK TO THE
FUTURE
Rem Koolhaas and Hans Ulrich Obrist’s
survey of visionary architecture in postwar
Japan — page 82

4. — 2 —
H a u t e J o a i l l e r i e C o l l e C t i o n
Winter 2011/12
6 My favorite TASCHEN book is...
Celebrities share their recommendations
16 L’air de Paris
The vivid history of the capital of love and
photography
26 Two artists, one vision
The enigmatic and genre-defying work of
Inez van Lamsweerde and Vinoodh Matadin
34 This is
Volume Two
for you!
The all-new
installment
of TASCHEN’s
Bestseller
36 Behind the lens
A retrospective of Linda McCartney’s life
and photography
37 Travel wisdom in your pocket
Get around New York, Paris, Berlin, and London
in high style
38 Latest and greatest
The prestigious annual for creative
professionals
39 Weekends on the road
The ultimate travel guide to the USA and
Canada
43 à la carte
One hundred years of menu graphics
44 The art and science
of cooking
“The most astonishing cookbook of our time.”
53 Cars Now
Features almost every brand on earth
making cars today
58 American Beauty
Norman Mailer’s poignant and provocative
text and Bert Stern’s historic Last Sitting
photographs evoke the spirit of America’s
greatest female icon
68 Fuzzy bunnies, big-eyed girls,
meat, magic, and mystery
Discover Mark Ryden’s universe
75 Da Vinci in detail
Leonardo’s life and work—the definitive edition
76 Seeing is understanding
How complex ideas can be communicated
via graphics
82 Back to the future
Buildings as molecules—visionary architecture
in postwar Japan
88 Mouthwatering Theory
A sharp look at architectural
changes and styles
89 Here today, gone tomorrow
Architecture on the move
90 Wolfgang Tillmans
looks back
3 x Tillmans packaged together
in one box set
92 The Man from La Mancha
An in-depth exploration of Almodóvar’s
complete œuvre
98 Once upon a time...
In honor of the 200th anniversary of the
Grimms’ fairy tales, this book celebrates their
timeless magic and the special illustrations
they inspired
99 Masters that matter in
Modern Art
A blow-by-blow account of groundbreaking
works in Modernism
100 The Best MOVIES
OF THE 2000s
Jürgen Müller’s long-awaited bible for all
movie buffs now also covers the latest decade
103 They’re not your girls
next door
Fashion and fetish in a female fantasyland
105 Feet first
Ed Fox is at it again: snapping hotties
all the way down to their toes
106 “An artistic homage
to a genius.”
—Frankfurter Rundschau, Frankfurt
107 Drawing delight
Today’s most exciting illustrators, from A to Z
108 Meow...
The cat’s out of
the bag
112 Big-billed
technicolor
marvels
114 The mobile
revolution
Find out how to
make the most of it
116 Handbook of
visual experience
The ultimate exploration of symbols and
their meanings throughout history
118 The Best of the Backlist
An overview of our current titles
Read this on your iPad!
26
Inez van Lamsweerde
58
Marilyn Monroe
captured by Bert Stern
68
Mark Ryden

5. Est. 1980
Diversity is the spice of life!
Winter 2013 / 14
Seethe
world125 years of National Geographic
modern
aphroditeThe ethereal Naomi Campbell
apocalypse
thenA long lost Renaissance
manuscript of fantastic phenomena
graphic
geniusThe rediscovered work of
Fritz Kahn, trailblazer of data
visualization
Great DaneThe unique storytelling
of Hans Christian Andersen

6. Winter 2013/14
40
Naomi
then
and now
54
Fields of
dreams
22
Body of
data
16
Flying
flames and
unearthly omens
96
Superheroes
meet sci-fi
8 My favorite
TASCHEN book is...
The TASCHEN-team reveals
their own most treasured titles
10 clean footprint
Announcing our landmark
environmental collaboration with
Lélia and Sebastião Salgado
12 AU NATUREL
Earth in all its glory
14 NO STONE UNTURNED
The ultimate book on the ultimate rock band
16 prophecies, portents
and marvels
Recovered Renaissance illuminations
of supernatural events
22 infomaestro
The graphic design treasures
of Fritz Kahn
32 story time
The making of Hans Christian Andersen
40 She’s got it
The seduction, strength, and supersonic energy
of Naomi Campbell
50 BLEEDING EDGE
Tracking the best in creative advertising
52 SIGN LANGUAGE
Logos a-go-go
54 Portraits of a Planet
Travel around the globe in wonder with
TASCHEN’s exclusive access
to National Geographic’s archives
76 Knock on wood
Innovative wooden
buildings around the world
81 That swing thing
A multi-sensory marvel of the 1920s
New York jazz scene
82 Tips for trips
Discovering Panama City with
The New York Times
84 Creative living
Individuality meets innovation in
the interiors of the moment
90 EVERYTHING SIZA
Complete career of the master architect
93 amour fou
The Jane Birkin and
Serge Gainsbourg
family album
96 COSMIC COMICS
The silver age of the DC universe
102 FINE ART AND FLUFFY TAILS
The illustrated autobiography
of Hugh M. Hefner
106 Book appreciation
TASCHEN’s most wanted
out-of-print titles
32
Master of the
modern fairy tale

7. The gospel
according to Marc
Marc Newson’s complete works to date
Nimrod Chair, 2002.
“I wish we had him
design the sets for 2001.”
—Arthur C. Clarke, co-writer of Stanley Kubrick’s 2001: A Space Odyssey
Photo:TomVack,courtesyofMagisSpA

8. — 12 — — 13 —
Opposite left: Marc Newson at Gagosian Gallery,
New York, in 2010.
Opposite right: Newson’s early sketches of the
Kelvin40 plane.
Top, left and right: Construction of Kelvin40
internal structure at Body Lines, UK.
Right column, top: Fitting and adjustment of the canopy
Right column, bottom: Kelvin40’s final internal structure.
Bottom: The completed Kelvin40 plane (2004).
A few words with Marc
Alison Castle chats with Marc Newson about
the joys and pains of making a major retrospective book
Alison Castle: Can you talk a bit about how
this project came about?
Marc Newson: I met Benedikt Taschen in
2007 at Art Basel Miami, not long after my
first show with Gagosian. He was one of a
group of us who had dinner together at
Joe’s Stone Crab restaurant and Benedikt
and I got on really well. Benedikt men-
tioned the possibility of doing a book and I
was thrilled—I had always been a huge
admirer of TASCHEN books and I realized
it was the best and only option to do the
kind of book I really dreamed of doing.
Very quickly Benedikt and I developed a
close friendship which, in addition to doing
my book, also resulted in the MoonFire
collaboration. I’ve enjoyed having an
incredibly close working relationship with
him. For me that’s what has really made the
difference—I could just pick up the phone
and call him, and he has taken an inordi-
nate amount of interest in my project,
which I can only assume he does for all of
his projects.
AC: Do you think that this makes
TASCHEN different from other
publishers?
MN: Absolutely. It seems unique in the
publishing world, particularly in terms of
the amount of resources he has made avail-
able to make this a worthwhile collabora-
tion. I had done some books before and my
experience was not that inspiring. Even
though from my side we’ve done an enor-
mous amount of work on the project, you
and TASCHEN have really matched that.
In the past, I found that publishers would
promise to do a book, but not throw any
resources at us, or provide an editor to
really head up the project.
AC: They basically wanted you to do all the
work and deliver them a book to print?
MN: Yes. A book is such an extraordinarily
huge amount of work, it’s like the ultimate
project in personal and professional house-
keeping, the way I see it. For me it’s been
like organizing my entire life: all of the stuff
I’ve ever done has to be examined and
organized. In a sense, it’s like personal
therapy. I am now completely familiar with
what I’ve done over the last 25 years,
whereas I simply wouldn’t know a tenth as
much if I hadn’t done this project. It’s really
strange. People assume that because it’s
your work and your stuff, you know every-
thing about what you’ve done. But when
you confront it.... It’s much more than a
book, it becomes a life’s work.
AC: This project took what seemed like an
eternity, right?
MN: Yeah, what was it, close to four years?
But there was never a dull moment; we
worked more or less consistently the whole
time, so that’s basically how long it took to
pull all the material together. A lot of it
needed to be created—so many things
needed to be rephotographed, re-docu-
mented.... It was such an immense amount
of work for everyone. I don’t know how
many hours I spent talking and working
with you, we must have spent hundreds of
hours together during the process. The text
is so ridiculously comprehensive, I can
honestly say that I’ll probably never
embark on something so comprehensive
again in my life—unless it’s the second vol-
ume of this book!
AC: Has this book project changed the way
you approach your work?
MN: It’s changed many aspects of the way I
work, specifically the way I organize and
categorize my work. I work in a much more
organized and orderly way now. Perhaps
the biggest task my studio has undertaken
has been working on the research for this
book. It’s a wonderful thing to have done,
on so many levels, the least of which is a
philosophical level. When this book is done
I feel like I’ll be starting a new career.
AC: The next phase...
MN: Kind of, yeah! In reality I will be con-
tinuing, but it’s safe to say that I’ve taken
this project more seriously—and so has
TASCHEN—than just about any design
monograph out there. I’ve never seen
another design book that is this compre-
hensive! Most are cursory by comparison.
This really includes everything I’ve ever
done—warts and all—even stuff from the
early days of my career that are a little bit
embarrassing. But I hope for other people
it’s informative. And from my point of view
it’s a great opportunity to set the records
straight. I don’t think people generally have
a clear understanding of the way that
designers in general work, or me in particu-
lar, which I think is not typical. It feels
helpful for me to know that there is now a
document that can explain all of that. I sim-
ply couldn’t have done it any other way. For
me, in terms of the content of the book,
both images and text, I can’t imagine how it
could be any better.
AC: Let’s talk about the choices you made
regarding the Art Edition.
MN: I chose Micarta for the case because
it’s a material I’ve worked with extensively
since about 2006. It’s a material that I love
because it embodies a lot of the qualities in
the particular materials. It’s very warm; it
was developed a hundred years ago and was
very advanced at the time, but now has
certain anachronistic qualities, and its
perception of value is high. It’s an obscure
material but I think it’s very “me,” it feels
valuable to me, and I think people may
even begin to associate it with me. It can
be worked in the appropriate way, so that
makes it feasible to use for the case of
the book.
AC: And the leather marquetry on the
cover?
MN: I wanted to utilize a craft that was
nearly forgotten in the industry. I didn’t
want to do a hyper-modern, cutting-edge
design solution that many people might
have expected from me. I wanted to use the
opportunity to do something that was
slightly unexpected, and to go back to my
roots as a craftsperson. Again, marquetry is
an anachronistic craft, and one that you
wouldn’t have the opportunity to use unless
you were doing an edition like this with
TASCHEN—I can’t think of another
excuse that would allow me to do marque-
try! It’s wonderful to work on projects
when nobody questions why you want to
do it. Usually in my line of business, I’m
constantly being questioned and second-
guessed; it’s the nature of my job. But with
TASCHEN, it’s like “OK, that’s what you
want, we will do everything we can to make
it work.”
Photo:JesseShadoan,courtesyofWhitewallMagazine
Photos:NicolasRegisterPhoto:DanielAdric

9. — 15 —
“Rotman magazine
tackles real ideas
with a verve and
style that I have
not encountered
anywhere else.”
Rotman School of
Management Design
Thinking Speaker Series
May 3, Toronto
June 3, New York City
September 20, London, UK
18h00 to 20h15
Speakers:
Heather Fraser
Co-Founder and Director,
Rotman DesignWorks
Strategy Innovation Lab;
Adjunct Professor, Rotman
School of Management,
U of Toronto; Author, Design
Works: How to Tackle Your
Toughest Innovation Challenges
through Business Design
(Rotman-UTP Publishing,
May 2012)
Roger Martin
Dean and Professor,
Rotman School of Management,
U of Toronto; Author of 6 books
including The Design of Business:
Why Design Thinking is the
Next Competitive Advantage
(HBR Press, 2009)
Topic:
How to Tackle Your Toughest
Innovation Challenges
through Business Design
To Register:
rotman.utoronto.ca/events
Try a risk-free issue:
rotman.utoronto.ca/must-read
–Peter Day
BBC Radio Presenter,
“In Business” and “Global Business”
XLFormat
He has designed chairs, restaurants, boutiques, cars,
planes, and even a spaceship. For Australian indus-
trial designer Marc Newson, the sky is no limit. From
mass-produced objects to limited edition furniture
to fashion, Newson has blurred boundaries, mapped
new territories, and made himself an international
superstar.
This comprehensive tome leaves no stone unturned in
cataloguing all of Newson’s works to date, from early
pieces such as Lockheed Lounge (which holds the
world record for the highest price paid for a piece of
designer furniture, at over two million dollars)
through designs of household objects and more recent,
large scale projects such as the Ford 021C concept car,
the Kelvin40 plane, the interior of Qantas’s A380,
and the Aquariva boat.
Limited to 1,100
numbered copies,
signed by
Marc Newson
– Encyclopedia-style entries,
arranged chronologically by catego-
ries: Furniture, Objects, Interiors
and Architecture, Time­pieces and
Jewelry, Transport, and
Unreleased Projects
– Visual index cataloguing Newson’s
complete works
– Exclusive, in-depth interview by
Louise Neri
Born in Sydney, Australia, Marc Newson
(*1963) studied jewelry and sculpture at
Sydney College of the Arts before moving
to Tokyo where he designed his first pro-
duction works for Idée. Subsequently based
in Paris and London, where he lives and
works, Newson quickly became one of the
world’s most accomplished and influential
designers. His designs are present in most
major permanent museum collections.
Newson holds adjunct professorships in
design at Sydney College of the Arts and
Hong Kong Polytechnic University. In
2012, he was appointed Commander of the
Order of the British Empire (CBE) by Her
Majesty the Queen.
Editor and author: Alison Castle received
a BA in philosophy from Columbia Uni­ver­
sity and an MA in photography and film
from New York University. Her books for
TASCHEN include titles on photography,
film, and design.
Contributing authors: Laszlo Adams,
Nicholas Foulkes, Louise Neri, and Alice
Rawsthorn
Art Edition No. 1–100
Limited Art Edition of 100 copies,
featuring leather marquetry on
the cover and a Micarta slipcase.
Design by Marc Newson
$ 6,000 / € 4,000 / £ 3,500
Collector’s Edition No. 101–1,100
Limited Edition of 1,000 numbered
and signed copies, each in a linen-covered
slipcase
$ 1,000 / € 750 / £ 650
Marc Newson
Alison Castle
Hardcover, format: 33 x 44 cm
(12.9 x 17.3 in.), 610 pp.

10. XXLFormat
Introducing TASCHEN’s
new contemporary fashion
monograph series brought
to you by Terry Jones and
i-D magazine
Conceptual
clothing... Rei Kawakubo, the
enigmatic head of
innovative Japanese
fashion house Comme
des Garçons, has a
special vision which
extends beyond
clothing to furniture,
architecture, and
graphic design, always
defying conventional
thinking.
The Tillmans
portfolioA unique collection of hand-picked prints
from the artist’s Neue Welt project
Neue Welt
Wolfgang Tillmans
Portfolio (72 photos on
24 folded sheets), 35 x 46 cm
(13.7 x 18.1 in.), 96 pp.
$ 700 / € 500 / £ 450
Limited to 500
numbered copies,
signed by
Wolfgang Tillmans

11. — 84 —
“I love the blur of fashion”Alison Castle talks to Terry Jones, founder and creative director of i-D magazine,
about style, inspiration, and the making of his new TASCHEN series on contemporary fashion designers
Alison Castle: What was the genesis of
this series?
Terry Jones: When Benedikt Taschen and
I were talking about future collaborations
he said, “What about a series of monographs
on fashion designers?” Having already done
several books with us, he knew i-D’s archive
was extensive, but most importantly we had
covered the key fashion innovators for over
30 years. The idea for this series was to
make large-format books that could be
accessible to a new fashion audience. I liked
the idea of creating a personal portfolio that
was both a reference and an intimate bound
file of collected images and text.
Have you always been interested
in fashion as a cultural phenomenon?
I realized as a student in the 60s that I was
not interested in being dictated to. Fashion
was not on my radar but creating my own
style after years of school uniform was
important. After leaving college and start-
ing work, I entered Vogue as an art director
in 1972. I learned and stayed for five years.
The rules of fashion were still being dic-
tated by the designers of the time and only
when punk appeared on the streets of
London in 1976 did I become aware that the
street excited me more than the catwalk.
Vivienne Westwood’s shows in 1977 were a
blast of fresh air but Vogue still did not
believe it to be creative.... I left Condé Nast
and founded i-D magazine 3 years later.
Fashion had moved from dictatorial to
defined style by individual designers and the
choice of educated fashion enthusiasts was
wider than ever. Today, fashion is about per-
sonal taste. Taste in fashion is a huge subject
and as i-D has always believed in identity,
from the surface of theater to the depth of
personal desires, so the idea to make a series
of personal monographs was irresistible.
You curated these books yourself using
only photos and interviews from the i-D
archives and the layouts are decidedly
non-chronological. What was your crea-
tive approach in putting together these
books?
My creative inspiration was seeing how [my
wife] Tricia arranged her wardrobe.
Fashion is not about the latest item you’ve
bought—it’s an evolution of personal style.
Today’s wardrobe is most inspirational
when it has a history and something that
might be 20 or 30 years old, or even more
vintage, can be put together with tomor-
row’s purchase.
Selecting from the pages of i-D and some-
times making repro-facsimiles of the fash-
ion pages to reflect the graphics of the time,
together with transcripts of conversations
or interviews with designers, then adding
footnotes and facts, gave me opportunity
to add a depth of hidden information. I
avoided putting the book in chronological
order—I prefer the moment being right, and
these books are portfolios of moments in
time, much like how the brain works.
We have included images that I’ve found in
i-D’s archive or been given permission by
the designer or some of our photographic
contributors, many of whom started their
careerswithi-D.Wehavealsoincludedvideo
stills taken from screen grabs from my per-
sonal footage, as I love the blur of fashion.
What governed your choice of the first
three designers to be featured? And which
designers can we expect to see in the
upcoming titles?
The first three designers have successfully
created international reputations with their
unique visions, and founded a base
for inspiring future generations of new
designers. Edward Enninful, who was the
fashion director of i-D for twenty years, was
18 when he started working with i-D and
over his working career did many of our
seminal designer stories, frequently featur-
ing Rei Kawakubo of Comme de Garçons.
Yohji Yamamoto was very important to me
because I worked directly with him over the
years. I knew Vivienne Westwood from the
“Comme des Garçons
shows are renowned for their
post-punk energy mixed with
a very Japanese aesthetic,
resulting in a theatrical
experience that lodges in
your brain forever.”
—Terry Jones
“Vivienne’s undying
passion, originality, and
dogged perseverance
prove that a true punk
spirit never dies.”
—Terry Jones
Previous page: Photo by Daniele + Iango, 2012.
Opposite: Photo by Adam Howe, 2012.
Above: Rei Kawakubo (courtesy of Leonard Koren,
1984).
Right: Vivienne Westwood (photo by Norma
Moriceau, 1978).
...punk
chic...
From her early
punk beginnings and
her instigation of the
crinoline craze through
her journey to becoming
one of Britain’s most
original and influential
designers, Vivienne
Westwood’s appeal
continues to gain
momentum with the
years, and today she is
as much loved by new
fashion fans discovering
her for the first time
as those who have
followed her career
since the start.

12. — 87 —
XLFormat
... and the
art of
anti-fashion
As one of the most mentally rigorous
designers working in fashion, Yohji Yamamoto
creates garments that can be intellectual—
sometimes even difficult—and often both
avant-garde and classic at once
Rei Kawakubo /
Vivienne Westwood /
Yohji Yamamoto
Terry Jones
Hardcover, quarter-bound with pink cloth,
29.6 x 42 cm (11.6 x 16.5 in.), 120 pp.
$ 39.99 / € 29.99 / £ 24.99 each
early stages of i-D and subsequently fol-
lowed all of her shows. The next two books
will most likely feature Raf Simons and Rick
Owens. Other potential titles are still to be
confirmed, but there will be both established
names and newcomers featured in the series.
Who were your most instrumental
collaborators for this book project?
It’s always about the team. I have my current
editorial staff behind me, and that’s always
been the case through the history of i-D,
many people having worked on the maga-
zine since the beginning of their careers. A
lot of the interviews were personal ones that
I’ve done, but there are also interviews by
Holly Shackleton, who is the current editor,
and she was very involved at the stage I
pulled everything into the book. My assis-
tant Dominique Fenn, art director Graham
Rounthwaite, designer Jocelyn Lloyd, dep-
uty editor Dean Kissick, and production
assistant Michael Stephens were also inte-
gral in the final stages once the ingredients
were pulled in, which consisted in going
though the entire photographic archive. The
photography collaborators and stylists
included really the whole fashion depart-
ment, but in particular Charlotte Stockdale,
the current fashion director, and stylist Patti
Wilson were instrumental. Another impor-
tant collaborator is Caroline Baker, one of
my fashion mentors and someone extremely
important in fashion even before the 80s,
who worked on the bondage collection with
Vivienne. She has always had the gift of rec-
ognizing the strength of individual design-
ers. A lot of the photographers in the books
started their careers working for i-D as well,
such as Nick Knight, Juergen Teller, Matt
Jones, and Alasdair McLellan.
Do you feel that your vision of fashion,
and i-D’s in general, is a very British one?
I never think of how a British viewpoint is. I
would say that maybe we’re more celebra-
tory of a designer’s vision, and this is some-
thing I really learned when I worked
at Vogue and from Grace Coddington, who
was an inspiration—my interest has always
been when fashion celebrates the theater of
it all, of how it embraces personal identity.
We have always seen it as fashion portrai-
ture, how fashion marks moments in time,
but at the same time can be timeless.
What I’ve always encouraged is that the styl-
ists and photographers bring their personali-
ties into images that we feature, and that’s
something that is particular to i-D. I don’t
try and tell people what to do. In photo-
graphing fashion or people, it’s about putting
100% of your passion into that and captur-
ing it in an individual way. We always wanted
to hear the voice of the creator rather than
someone putting words in someone’s mouth.
Do these books share the same design
DNA as i-D magazine?
What I tried to use is the large format idea,
similar to a book I did in the 70s on punk,
almost like a child’s book where the text is
clean and separate from image. i-D tends to
to combine text and images all together,
whereas these books are meant to be easy to
read with small type and large type creating
clear layering. The large type texts are easy
to read, like a friend’s letter, then there are
“hidden” anecdotes and facts dropped in,
such as personal statements, in small type.
That gives character to the series and distin-
guishes it from the magazine.
“A Yohji item is like a
seductive lover. It slips into
your wardrobe, and it
stays forever. This is not
a one-night fling.”
— Terry Jones
Top: Terry Jones, early 90s. Photo by Peggy
Sirota.
Opposite: Photo by Inez van Lamsweerde and
Vinoodh Matadin, 1999.
Left: Yohji Yamamoto (photo by Takeyoshi Tanuma,
1981).
TASCHEN’s
new series on
contemporary
fashion
designers
–– Each monograph includes bio-
graphical and personal information
as well as extensive interviews
–– Featuring imagery from over
30 years of i-D’s history, including
work from photographers such as
Marc Lebon, Nick Knight, Emma
Summerton, Juergen Teller, Max
Vadukul, and Inez van Lamsweerde
and Vinoodh Matadin.

13. The anatomy
of lettersEverything you could ever want to know
about printing letters and numbers
Letter Fountain
The anatomy of type
Joep Pohlen (Ed.)
Hardcover, with typographic ruler,
format: 16.8 x 24 cm (6.6 x 9.4 in.), 640 pp.
¤ 49.99 / $ 69.99 / £ 44.99
Special features include:
• thoroughly hardbound in half
linen with three ribbon book­
marks
• 144 pages appendix with re­­
source­ful glossary and indices
• convenient typographic ruler
with conversions between
four measurement systems
and hidden shortcuts for your
Apple keyboard!

14. Elvis Presley prepares to wow the audience
during a dress rehearsal for the Dorsey Brothers’
Stage Show at CBS Studio 50 in 1956.
“Elvis who?”
... was photographer
Alfred Wertheimer’s
response when, in early
1956, an RCA Victor
publicist asked him to
shoot an up-and-coming
crooner from Memphis.
Little did Wertheimer
know that this would be
the job of his life: just
21 years old, Elvis Presley
was—as we now know—
about to become a legend.
Extraordinary in its
intimacy and unparal­leled
in its scope, Wertheimer’s
Elvis project—nearly 3,000
photographs—immortalized
a young man in the very
process of making history.

15. — 52 — — 53 —
Catering to
the clientExceptional eateries, bars, and boutiques worldwide
Architecture Now! Eat Shop Drink
Philip Jodidio
Flexicover, flaps, 19.6 x 24.9 cm
(7.7 x 9.8 in.), 416 pp.
$ 39.99 / € 29.99 / £ 24.99
This is where you will find the likes of David
Chipperfield and Peter Marino in the same book,
where Jean Nouvel and BIG star Bjarke Ingels
meet—but it is also the place to discover new
talents like the designer of London’s Late Night
Chameleon Café, Gary Card, or to see how the
director David Lynch imagined the subterranean
Paris nightclub Silencio.
From Kobe, Japan, to Turku, Finland, to São
Paulo, Brazil, Eat Shop Drink rounds up the
newest and brightest places to see and be seen.
The sushi dining room of Mexico City’s Tori Tori
Restaurant, by Rojkind Arquitectos, is marked by
wood cladding and the furniture, conceived by
Esrawe Studio, is a funky modern take on tradi-
tional Japanese floor-level dining. A sumptuous
vertical garden completes the space.
Photo: Paúl Rivera/Rojkind Arquitectos

16. The art and
science of cooking
A major milestone in culinary publish-
ing, Modernist Cuisine has caused a
huge stir since being released in the US,
flying off shelves from coast to coast.
Compiled by former Microsoft chief
technology officer Nathan Myhrvold
with a team of dozens of internationally
renowned scientists, inventors, editors,
and chefs—and illustrated by over
3,000 photographs and illustrations—
this 6-volume magnum opus is about
to take Europe by storm!
“The most
astonishing
cookbook
of our time.”
—Katy McLaughlin, Wall Street Journal

17. — 61 —
Tree Houses
Fairy Tale Castles in the Air
Philip Jodidio
Hardcover, 26 x 34 cm
(10.2 x 13.3 in.), 352 pp.
$ 69.99 / € 49.99 / £ 44.99
The idea of climbing a tree for shelter, or just to see the earth from
another perspective, is surely as old as humanity. Tree houses are
chronicled in ancient civilizations and their lore crosses through
the history of every part of the world where trees grow. This
stunningly-illustrated study offers a tour of the best tree houses
in the world, some designed by architects, others the work of
unknown craftsmen.
A teahouse, a restaurant, a hotel, a playhouse for children, or a
perch from which to contemplate life—the tree house can take as
many forms as the imagination can offer. In times of concern for
sustainability and ecological responsibility, the tree house may
also be the ultimate symbol of life in symbiosis with nature.
Whether rustic or contemporary in style, tree houses make the
most of space. Climb into this trove of tree houses and enjoy a new
perspective on the world.
–– Covers all different styles, from
romantic to modern
–– Every house is depicted in several
photos as well as an illustration by
artist Patrick Hruby
–– Short biographies of all architects
Branching
outFifty breathtaking suspended houses
around the world
Opposite: Terunobu Fujimori placed
a bamboo lattice outside the window
of Takasugi-an (“a teahouse built too
high”) near his hometown Chino,
Nagano, to reflect moonlight into the
space at night.
Photo: Terunobu Fujimori
Left: Built in a large sycamore tree
in Western New Jersey, Pete Nelson’s
Solace Tree House has generous pro-
portions and such unexpected features
as walls covered in old newspapers.
Photo: Pete Nelson
“Kids climb in
trees for adventure;
adults do so in
order to wind down
and relax.”
—Frankfurter Allgemeine Sonntagszeitung

18. Masters that matter
in Modern Art
The blow-by-blow account of
groundbreaking works in Modernism
Peggy Guggenheim, center standing,
in her drawing room during one of her
cocktail parties, early 1960s.

19. XLFormat
Illusion, enchantment,
and wonder
The world’s greatest magicians from the Middle Ages
through the 1950s
Magic, 1400s–1950s
Noel Daniel (Ed.), Mike Caveney,
Ricky Jay, Jim Steinmeyer
Hardcover, format: 29 x 44 cm
(11.4 x 17.3 in.), 650 pp.
¤ 150 / $ 200 / £ 135
“A new history of the art that
covers nearly 500 years of con-
juring in performance.”
—Magic Magazine, Las Vegas
Know your type
A visual history of fonts and graphic styles
Type. A Visual History of
Typefaces & Graphic Styles, Vol. 1, 1628-1900
Typefaces & Graphic Styles, Vol. 2, 1901-1938
Cees De Jong (Ed.), Alston W. Purvis
Hardcover plus keycard, format: 25 x 31.7 cm
(9.8 x 12.5 in.), 360 pp.
¤ 39.99 / $ 59.99 / £ 34.99 each
Includes exclusive access with TASCHEN keycard to
online image library: over 1,400 high-resolution scans of
type specimens downloadable for unrestricted use.
XLFormat
XLFormat
Walton Ford: Pancha Tantra
Bill Buford (Introduction)
Hardcover, format: 28 x 37.5 cm
(11 x 14.8 in.), 320 pp.
only ¤ 49.99 / $ 69.99 / £ 44.99
“Audubon
on Viagra.”
—New York Magazine,
New York
Carl Friedrich Philipp von Martius
The Book of Palms
H. Walter Lack
Hardcover, 3 fold-outs, format: 31.4 x 43.5 cm
(12.4 x 17.1 in.), 412 pp.
¤ 99.99 / $ 150 / £ 99.99
Trees of paradise
All known genera of the palm family
in 240 exquisite illustrations

20. Life in motionThe forerunner of the moving image
English photographer Eadweard Muybridge
was a pioneer in visual studies of human and
animal locomotion. In 1872, he famously helped
settle a bet for former California governor
Leland Stanford by photographing a galloping
horse. Muybridge invented a complex system of
electric shutter releases that captured freeze
frames—proving conclusively, for the first time,
that a galloping horse lifts all four hooves off the
ground for a fraction of a second. For the next
three decades, Muybridge continued his quest
to fully catalog many aspects of human and ani-
mal movement, shooting hundreds of horses
and other animals, and of nude or draped sub-
jects engaged in various activities such as run-
ning, walking, boxing, fencing, and descending
a staircase (the latter study inspired Marcel
Duchamp’s famous 1912 painting).
This resplendent book traces the life and work
of Muybridge, from his early thinking about
anatomy and movement to his latest photo-
graphic experiments. The complete 781 plates
of Muybridge’s groundbreaking Animal
Locomotion (1887) are reproduced here. In
addition, Muybridge’s handmade and extremely
rare first illustrated album, The Attitudes of
Animals in Motion (1881) is reproduced in
its entirety. A detailed chronology by British
researcher Stephen Herbert throws new
light on one of the most important pioneers
of photography.
Eadweard Muybridge
The Human and Animal
Locomotion Photographs
Hans Christian Adam (Ed.)
Hardcover, format: 33.2 x 24.3 cm
(13.1 x 9.6 in.), 804 pp.
¤ 49.99 / $ 69.99 / £ 44.99
The life and work of the man who,
to win a bet, proved for the first time
that a galloping horse lifts all
four hooves off of the ground for
a split second
Below: Jumping over boy’s back (leap-frog),
detail of plate 168

21. FOLIO
Format
FOLIO
Format
Albert Oehlen
Hans Werner Holzwarth (Ed.)
Hardcover in clamshell box,
format: 33 x 44 cm (13 x 17.3 in.), 660 pp.
Art Edition No. 1–100
Limited to 100 numbered copies, each signed
by Albert Oehlen, with a signed print
Untitled, 2009 (65 x 50 cm (25.6 x 19.7 in.)
¤ 3,000 / $ 4,500 / £ 2,500
No. 101–1,100
Limited to 1,000 copies, each signed
by Albert Oehlen
¤ 750 / $ 1,000 / £ 650
“The most resourceful
abstract painter alive.”
— Peter Schjeldahl, The New Yorker
His painting
spells TRBLExploring Wool’s meanings and messages
in an exhaustive monograph
Christopher Wool
Hans Werner Holzwarth (Ed.)
Hardcover in clamshell box,
format: 33 x 44 cm (13 x 17.3 in.), 426 pp.
Art Edition No. 1–100
Limited to 100 numbered copies,
each signed by Christopher Wool
with a silkscreen print.
Paper size 43.2 x 55.0 cm/17 x 22 in.
Image size 15.2 x 19.8 cm/6 x 7.8 in.
¤ 3,000 / $ 4,500 / £ 2,500
No. 101–1,100
Limited to 1,000 numbered copies,
each signed by Christopher Wool.
¤ 750 / $ 1,000 / £ 650
FOLIO
Format
“This publication is a
vibrant homage to the
imagination of two artists
who have transformed
our vision of landscapes
across continents.”
—fashion-artmagazine.com, Paris
Christo and Jeanne-Claude
Photographs by Wolfgang Volz
Essay and interview by Paul Goldberger
Book designed by Christo
Hardcover in clamshell box, format:
33 x 44 cm (13 x 17.3 in.), 754 pp.
Art Edition No. 1–100
Limited to 100 signed and numbered
copies, each with the original lithograph
Project for Jewelry on Jeanne-Claude’s
Hand, after a 1965 study.
Format: 30 x 40 cm (15.8 x 11.8 in),
signed by Christo.
Copies No. 1, 3, 4 and 6 are
accompanied by an original work.
No. 101–1,100
Limited edition of 1,000 numbered
copies, signed by Christo.
¤ 1,000 / $ 1,500 / £ 900
Please visit www.taschen.com
for more information about the
Art Editions.
Temporary projects,
eternal impressions
A retrospective of the life and work of Christo and Jeanne-Claude
The work of the artists Christo and Jeanne-
Claude transcends borders, resists categoriz-
ing, and embraces contradiction. This is the
only large-format book that includes all of
their projects, from their early wrappings of
trees and buildings to spectacular urban
events such as The Gates in Central Park, the
Wrapped Reichstag in Berlin, and Running
Fence in California, as well as the full spectrum
of Christo’s early art works that formed the
basis for the ambitious large-scale projects that
both artists produced together. Part biography,
part critical analysis, part catalogue, the book
traces both the lives and the works of an artist
couple who established a category all their own:
a category somewhere between conceptual art,
urban planning, architecture, politics, engi-
neering and art.
Christo and Jeanne-Claude, Surrounded Islands,
Miami, Florida, 1980-83. Photo © Wolfgang Volz

22. “TASCHEN books are almost designed
to be collectible. It’s very common for a TASCHEN
book to gain value almost instantly.”
— Richard David, Abebooks, the world’s most popular platform for antiquarian books
2005
$ 200
First Edition
$ 450
(225%)
2002
$ 1,250
Ed. of 2,500
$ 4,000
(320%)
2007
$ 6,500
Art Ed. of 100
$ 10,000
(154%)
2010
$ 1,000
Art Ed. of 300
$ 2,000
(200%)
2008
$ 700
Ed. of 1,000
$ 1,800
(257%)
2006
$ 400
Ed. of 1,000
$ 850
(213%)
1999
$ 1,500
Ed. of 10,000
Today’s value
$ 15,000
(1000%)
2006
$ 1,750
Ed. of 2,500
$ 4,000
(229%)
2005
$ 300
Ed. of 1,000
$ 1,500
(500%)
Since the TASCHEN adventure began in 1980, it has been our goal
to make the greatest books in the world. Whatever the subject and
whatever the retail price—from $10 to $10,000—we strive to produce,
design, and package each of our books beautifully, with a great deal
of care and attention to detail. The collectors who buy a limited edition
book early on will have, in addition to a rare and exceptional book,
the added benefit of seeing their asset appreciate; our collector’s
editions have been known to have their value multiply, in some cases
reaching ten times their original price. Here are a few examples:
010
000
d. of 300
000
%)
2007
$ 5,000
Art Ed. of 125
$ 18,000
(360%)
2009
$ 1,800
Art Ed. of 100
$ 3,000
(167%)
2011
$ 1,000
Ed. of 750
Tomorrow’s value
???Tomorrow’s value
???
2009
$ 700
Ed. of 1,000
$ 1,500
(214%)
2010
$ 200
First Edition
2010
$ 4,500
Art Ed. of 100
$ 7,000
(156%)
2010
$ 500
Ed. of 1,500
2008
$ 1,000
Ed. of 1,500
$ 4,500
(450%)
$ 1,500
(300%)